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| credit: John Hoopes |
I love this. John left it there, quite a stunning piece of AI image creation in its own way. I decided to see what would happen if I asked popular AI chatbot ChatGPT (based on Large Language Models (LLMs) developed by OpenAI) about this and I thought the answer was pretty revealing*:
"If you treat that tweet as a kind of genre prompt, you can actually make a fairly grounded prediction—because pseudoarchaeology is remarkably conservative in how it updates itself. It rarely invents new structures; it recombines a stable set of tropes in response to shifting audience tastes.
What’s changed recently (roughly post-2015) [Fingerprints of the Gods PMB] is less the content than the framing.
1. From “ancient astronauts” → “lost advanced civilization”
The classic model associated with Erich von Däniken or Zecharia Sitchin—aliens directly building pyramids—hasn’t disappeared, but it’s no longer the most respectable version of the genre. Instead, a book like the hypothetical “Bullshit of the Gods” would probably pivot to something closer to Graham Hancock’s model:
- A lost Ice Age super-civilization (often Atlantis-adjacent)
- Destroyed by a catastrophe (e.g. Younger Dryas impact)
- Survivors spread knowledge worldwide
- Myths of “gods” are distorted memories of these survivors.
This shift matters because it sounds less ridiculous than aliens while still preserving the same explanatory function.
2. “The gods were real—but misunderstood”
Given the title, a central thesis would likely be:
- Ancient gods were not supernatural beings but misunderstood advanced humans (or possibly non-human intelligences).
Variants might include:
- “Gods = elite survivors of lost civilization”
- “Gods = altered humans / forgotten technology users”
Residual alien hints (soft, not central)
This preserves the older “aliens = gods” structure, but dilutes it into something more ambiguous and defensible.
3. Anti-academic populism as a core narrative
Modern pseudoarchaeology is as much about who to distrust as what to believe.
Expect recurring claims like:
- Archaeologists are “gatekeepers” hiding the truth
- Academia suppresses evidence out of arrogance or ideology
- “Independent researchers” are the real truth-seekers.
This anti-elite framing is now central to the genre’s appeal and helps explain its spread on social media.
4. Diffusionism rebooted (but rebranded)
A key structural feature would be updated hyper-diffusionism:
- Similar monuments worldwide = evidence of a single source
- Cultural parallels = proof of global transmission
- Independent invention is summarily dismissed as implausible.
This is a core pseudoarchaeological pattern. The “twist” today is that the source is no longer aliens, but:
- Atlantis,
- Ice Age civilization,
- A forgotten global network.
5. Strategic use of ambiguity and “just asking questions”
Unlike older, more dogmatic texts, the tone would probably be less “[I believe/ can show PMB] this is true”, more: “why won’t they explain this?”.
Typical rhetorical moves:
- Cherry-picked anomalies (megaliths, maps, myths),
- Scientific-sounding language without method,
- Suggestive questions instead of falsifiable claims.
These are well-documented features of pseudoarchaeological argumentation.
6. Moral subtext: reclaiming wonder (against “soulless science”)
A contemporary addition is a quasi-spiritual or civilizational message:
- Modern society has “forgotten its origins”,
- Ancient knowledge was superior or more holistic,
- Science is reductionist; myth preserves truth.
This aligns the book with broader “alternative knowledge” ecosystems (New Age, conspiracy culture, etc.).
7. [...]
8. Tone: ironic, provocative, but market-savvy
The fake author name (“von Dancock”) is telling—because modern pseudoarchaeology often leans into edginess / irreverence, uses humour or mockery of experts, positions itself as rebellious, outsider knowledge. That’s very much in line with how the genre survives in meme culture while still selling books.Meanwhile, while I think the above is a nice encapsulation of the main characteristics of the genre, I am less enthusiastic about the AI-suggested chapter structure, and I think it has missed one important element of Hancockism, the books are written as a travelogue, framing Hancock (and always the beloved wifey) as intrepid explorers - and so in effect taking the reader too on an ersatz "exploration", which is part of the appeal. Anyway here's what Chat GPT initially offered:
Bottom line: Such a book would not be a simple rehash of "ancient astronauts". Instead, it would: replace aliens with a lost advanced human (or quasi-human) civilization, frame myths as distorted history, attack academic authority, use suggestive, evidence-light argumentation and embed everything in a populist “they’re hiding the truth” narrative.
In other words: structurally identical to older pseudoarchaeology—but rhetorically updated for a post-“Ancient Aliens” audience. If you want, I can go one step further and actually write a convincing back-cover blurb or sample passage in that style—it’s surprisingly formulaic once you see the pattern. "
7. Likely chapter structure (very predictable)Incredibly boring. Interestingly revealing of how, in fact, cleverly are constructed Hancock's own staging of the argument.
You could almost sketch the table of contents:
“The Problem with History” (attack on academia),
- “Forbidden Evidence” (Göbekli Tepe, pyramids, etc.),
- “Myths That Tell the Truth” (global flood, culture heroes),
- “The Lost Civilization” (core thesis),
- “Survivors and Teachers” (diffusion narrative),
- “What They Don’t Want You to Know” (conspiracy framing),
- “Rewriting Human History” (grand conclusion)."
"those earlier titles do sit too close to the respectable nonfiction shelf. Airport-bookstall pseudoarchaeology tends to work more like thriller branding: short, evocative, slightly ominous, and suggestive rather than explanatory. It should feel like a secret you’re about to step into, not a lecture you’re about to attend. Given your chapter arc (hidden past → myth as memory → lost civilization → suppression → revelation), here are titles that lean into that tone:..."The resultant list was only marginally more tempting. I'm including it below for reference:
"High-impact, commercial, “pick-it-up” titles ( Before the Fall, The First Age, Echoes Before History, The World We Forgot, Ashes of the First World) ["they work because they imply a story already in motion—something lost, not something to be explained"];
Slightly darker / conspiratorial edge (They Buried the First World, The Age They Erased, What Lies Beneath History, The Silence Before Civilization, A History That Was Taken) ["These connect directly to the “What They Don’t Want You to Know” chapter without spelling it out"];
Mythic + evocative, very on-trend right now (When the Gods Were Mortal, The Last Days of the First World, The Memory of Fire, The Children of the Flood, After the Deluge) ["These titles resonate strongly with the “myths are distorted history” angle—especially flood narratives"];
Sharp, minimal, almost thriller-like (FIRST WORLD, ERASED, BEFORE US, THE FIRST MEMORY, ORIGINS: LOST) ["These are extremely marketable—bold typography, immediate intrigue, zero exposition"].The one it suggested as "one that really fits your structure" was useless too.
* Prompt#1: "If this were a real proposition for a book [...], going on current trends in pseudoarchaeology (so "ancient astronauts" are not so prominent as they were, but this title seems to refer to it in some way) ... can you make a reasonable prediction of what its populist-pseudoarchaeological contents would be?"
** Prompt#2: "I'd like to ask you to FORGET the original title [that IMO refers too strongly to the old "ancient astronauts" theories]. Let's take the chapter organization you proposed and independently of the original title and maybe playing down that 'ancient visitors from outer space' element, think up a new and snappier (commercially attractive) title:. Here are your chapter outlines: " ..."







